So-Cal group OPM may primarily be known for skater anthem Heaven is a Halfpipe, but they showed at Bannerman's Bar in Edinburgh that they've got plenty more than that in their locker.

OPM dived into their 16 year catalogue to play fun, catchy, alternative pop songs to a very excited audience. They opened their set with the totally chill but totally danceable Runaway, a reggae rock tune from their 2008 LP, Golden State of Mind. Although, the band have been going for so long, with very little change in their line up, they played all their songs with excitement and energy. This was completely reciprocated by the audience.

While fans at folk, jazz and some indie concerts just want to hear live music played well, pop-punk gigs are definitely more of a two way street. Fans are there primarily to have a good time. The band can play their songs note perfect but if the rest of the crowd aren’t up for it, it can be sort of shit.

Decade were second on the Slam Dunk Scotland bill at the Liquid Room.  They played anthemic, grungey pop-punk with spot on harmonies with the highlight their new single, British Weather. Typical to such a support slot, the audience were happy to simply listen to their songs.

The next band were Neck Deep, which saw the audience become a lot livelier. The Welsh quintet had a great command over the audience getting them to sing, jump, point and mosh to their 10 song set. The success of their set may be due recent popularity; the energy of their music or the animation of lead singer who was singing to the audience as though the girl he was smiting was standing in the front row. The band were so popular that a large portion of the audience started chanting for an encore.

This encore request was unsuccessful, however, as Neck Deep had to make way for Hit The Lights. They definitely could have though as Hit The Lights hit the stage half an hour after Neck Deep’s set had ended. The band informed the crowd that British Airways had lost their instruments and guitarist, Omar Zehery was unable to travel the UK. They had to borrow instruments and lead singer, Nick Thompson, had to also fill in for guitar, which he did efficiently. Due to the problems, Hit The Lights only played four of their biggest and best hits to the Edinburgh crowd. Although the band were popular when the songs they played were released (all of which were at least six years old), the crowd did not seem as well versed with Hit The Lights as they were with Neck Deep due to the youthful nature of their genre. It'll be interesting to see whether Neck Deep are still as popular five years from now.

We Are The In Crowd played a great set involving tracks from their new album, Weird Kids, Best Intentions and from their debut EP, Guaranteed To Disagree. Most of the tracks had been released as singles making their set almost a greatest hits collection.

They started their set with ‘Long Live The Kids’. This worked as an effective opener with the steady intro acting as an introduction to the set. Once the song kicked off, the crowd became incredibly energetic. This energy remained as they played, gutsy single, ‘The Best Thing That Ever Happened’ and throughout the rest of the set. Unusually, during, ‘Kiss Me Again’, a section of the audience started a moshpit perhaps winning the award for ‘Softest Song People Have Ever Moshed To’. It was also nice to see We Are The In Crowd feeding off of the crowd’s enthusiasm.

The entire band were incredibly charismatic throughout the gig. Their energetic set featured jumps, spinning guitars also saw the group interact with the audience, pointing out the “Here we fucking go!” chants they always receive in Scotland and claiming that they brought it to America. Rather, than leaving the stage for their encore, they joked that the audience should just turn away then look back, which about half the crowd did. This may have been due to time constraints but was still refreshingly honest.

Before the gig, I had pegged We Are The In Crowd as a second rate Paramore. However, this evening proved that they're a very fun, charismatic pop band with a large number of great songs. Had I been with friends, chances are that I would have been involved in the various moshpits myself.

Monarchy – Living Without You (MK Letting Go Remix)     4/5

The modern master of the remix Marc Kinchen brings us back to the early 1990s with his latest work – a disco remix of Monarchy’s funky number.

Dark tones of robotic keyboard bounce up and down in a flowing melody that continues to circle throughout the four minute plus song but does not bore. Whereas often MK lets his backing beat take full charge of the tune, mixing in just a single word or line from the song which he is remixing, on this occasion he lets the full vocals of Ra Black sound out from around the minute mark in his edit.

With the lyrics still accompanying and complimenting the rhythm rather than driving it along though, this tune is all about that electronic backing. And it’s truly tantalising producing from the Detroit electronic artist.

The Pierces – Kings     3/5

Sisters Allison and Catherine Pierce return with their powerful new record Kings, the second single to be taken from their upcoming album Creation to be released in September.

A basic backbeat made up from guitar and keyboard work supplies the foundations for a fast flowing vocal melody from the Alabama-born siblings that carries the number. The verses are smart and maintain interest by rising and falling nicely in tone and power through the powerful vocals on offer.

The chorus then offers a rising harmony which is barely original, and the repetition of this bracket becomes increasingly agitating as the song draws on. Good vocal work and songwriting without a distinctive edge.

Heart to Heart – Mentirosa     4/5

Heart to Heart have diverted from their previous punk-rock roots to take on a harsher, heavier tone in their music ahead of the release of their new album Dulce
– and it suits them well.

A plucked guitar twang opens up the number in intelligent manner, and this progresses nicely to introduce a heavier instrumental lay down and rough, fitting vocals before an anthemic if slightly predictable chorus.

The vocals really come into their own during the second verse as they begin to sound out over the strong instrumental backing. Breaks between chorus and verse are dealt with well so as to not invite on monotony too, with a cooled bridge leading on to subdued clean vocals late in the third verse to separate it from the previous offerings.

The lyrics could do with a little more depth and meaning but this is a neatly put together track that showcases some good work from the band.

Handguns – Sleep Deprived     2/5

American four-piece Handguns don’t hang around waiting to get their latest effort off to a quick start. Neat instrumental work heavy on riffs familiar to pop-punk play out over vocals shouting about the past woes of a lost relationship. Not much differentiating from genre conventions then, but the chorus is catchy and the chantable lyrics will work well on the live stage.

The tune is slowed down to acoustic pace for a few seconds late on before bursting back into that repeated chorus. It’s a number that will likely appease current fans and is capable of showcasing instrumental talent, but without a distinguishing selling point, it does leave you hoping that more unique efforts await when the band drop their upcoming album on 7 July.

★ RECORD OF THE WEEK ★

Kanye West – God Level (prod. By Hudson Mohawke)     4/5

Glasgow’s own Hudson Mohawke has been living the high life lately after leaving the land of Sub Club and Rubadub Records for the planes of Hawaii to turn producer for Kanye West.

Mohawke is now a full-time member of Kanye’s G.O.O.D music label, and he’s once again the producer behind the latest track to come forward from West. The track, entitled God Level, seems to be (an albeit pretty impressive) leftover, from the rapper’s coveted Yeezus, and debuted in the latest Adidas World Cup advert, featuring Lionel Messi & co.

Trap drums cue an exotic feel from the start that let you see why the track seemed appropriate for Adidas’ Rio de Janeiro-bound advertisement, all the while applying the unique obscurity found throughout Yeezus to the backing track.

This is a back beat which is continually prominent, be it right in your face and blasting your ear drums or simply smashing away in a slightly more subdued manner, but it sets the scene perfectly for Kanye to drop some traditionally Kanye lyrics.

As you can imagine, then, much of Kanye’s input here involves shouting out ‘God Level’ throughout the track around lyrics that play on the opening line (‘Provide a new coffin/You don’t see murder like this this often’) to combine with the backing to form an exhilaratingly, almost tenacious carnivalistic atmosphere.

An exciting, heavy listen coming soon to a motivational YouTube video near you.

                                                                                                                                        Stuart Kenny

A strong set from Charlie Simpson at a packed out King Tuts in Glasgow leaves a lot of promise for the singer-songwriter’s upcoming second album release next July.

When we say ‘packed out’ too, we’re really not kidding. The event was sold out, and anyone who has been to King Tuts before will know that this results in a crammed in session at the compact venue where the word ‘humid’ proves the ultimate understatement when describing the heat.

The setlist would offer up a selection of songs from Simpson’s first solo record Young Pilgrim and unheard tracks from new album Long Road Home as well.

He kicked off the night with a rendition of Thorns, with the vocal audience seemingly surprising Simpson right away as they reverberated back the lyrics to the catchy tune. Well known for his idealist visions of what he wants his music to be, Simpson performed well, with his signature rugged vocals flying over fast-running, melodic guitar riffs throughout the set.

A selection of new songs, including the recently released Winter Hymns, continued the natural music process, although it was at times difficult to differentiate from each song as the template of progressive guitar work and lifts at the chorus continued through the set.

Regardless, each song performed was near enough spot on with the record recordings – no misplaced notes or chords – and when the difference could be heard, it was all for the positive as the passion on the sleeves of Simpson shone through.

The title track from Long Road Home received a debutant play to a reception that will please the artist, but for the crowd, it was really all about the old material.

Cemetery sounded to widespread cheers, with Simpson taking a break on the chorus as the audience took over the vocals in a choir-like performance. Ten more Days and Parachutes too proved popular tracks, while Down Down Down was a main highlight, the looping instrumental sounds working brilliantly with vocals that burst into life halfway through.

The concluding numbers would be Farmer & His Gun and Riverbank, and as Simpson thanked the crowd and shredded out some impressive final sounds on his acoustic guitar, it was clear that he really was grateful and was loving his music.

A good night in Glasgow. And, most impressive of all, we managed to get through this whole Charlie Simpson review without mentioning Busted.

Aw, wait. Shit.

                                                                                                                                        Stuart Kenny

Just For Culture bring you all the latest reviews from the world of music, as we tackle some single releases from the second week of May. Here's our breakdown of the latest singles out right now.

Claire – Broken Promise Land (Giorgio Moroder Remix)     3/5

Italian producer Moroder returns with a futuristic remix of Claire’s latest single. The remix begins with the artist’s vocals resounding over a slow, thumping beat accompanied by a distant synth and more prominent, bouncing electronic input. 

The opening verse flows nicely into the first chorus, which doesn’t differ much from the build up, before breaking the song down with some robotic male vocals that cement the ultramodern nature of the piece. These robotics deny the number the chance to take off into the more upbeat number that the second verse threatens to bring on, but ensure the unique nature of the remix remains. An electro effort worthy of critical praise for the intricacies, but unlikely to make for comfortable regular home listening.

Little Mix – Salute (Troyboi Remix)     4/5

The girl group spawned from X Factor hit back with another single, and when Troyboi takes hold of it the track travels in an entirely different direction. After some early vocal harmonies from the four-piece group, an absolutely massive bassline drops in big enough to blast your face off. Good work from the producer to lay down his marker on the track and turn it from a pop number into a grimey hip-hop track early on.

After the bassline has calmed down, it’s a more standard hip-hop backing that accompanies Little Mix through the remainder of the song. The fast paced nature of the chorus works well with the instrumental work laid down by Troyboi, who manufactures a song that wouldn’t look out of place in the back catalogue of Destiny’s Child. This is one to be played on big speakers in a room with slamming acoustics.

Seinabo Say – Hard Time     2/5

Faded vocals start this off in a melodic, looping chant. The vocals soon grow in power as the introductory build up is met by a strong, repetitive backing formed through keyboard and bass. After a minute or so of what feels like build up, a smooth guitar interlude brings us back to the build up before the piece finally seems to move up a notch with around a minute left on the timer. A final hook from Seinabo Say as the end draws near allows a penultimate push off into a satisfactory and memorable ending, but it does feel as though it is too little, too late for this track.

Paloma Faith – Only Love Can Hurt Like This     2/5

The spectacular vocals of Paloma Faith play out over a subdued big band backing for the first verse of this track, which transforms into somewhat of a whiny love number as it hits the chorus. The song feels like it should be playing in a movie montage as a character who has recently wronged his true love stares out a rainy window, regretting his actions and remembering the good times he had with said romantic interest. A solid track from Paloma, but nothing new and nothing particularly encapsulating. The vocals get repetitive as the eponymous lyric continues to pop up, and this does indeed feel like more of a soundtrack song than a charting hit.

CHVRCHES – We Sink     4/5

The latest single to come from CHVRCHES recently released and highly acclaimed album The Bones of What You Believe, the backing track for We Sink would not have looked out of place if providing the soundtrack to a chase sequence in the Tron series. A futuristic, fast-moving and upbeat electro beat jangles and jives around behind cool vocals from lead vocalist Lauren Mayberry. 

The backing stays strong throughout as it dips and dives into different levels of electronic elation, and the vocals on top are spread out nicely enough not to give the reader the chance to get bored of the bouncy sound. Good work from the Scottish breakthrough act.

★ RECORD OF THE WEEK ★

Oliver Heldens X Becky Hill – Gecko (Overdrive)             5/5

The day that many were dreading had arrived – Oliver Heldens has released the vocal mix of Gecko, the slamming progressive electronic track that has dominated the past year in EDM from the summer festival fields to the mountainous heights of La Folie Douce in the Alps. 

The track flows with an electronic twang reminiscent of Tchami’s innovative future house genre and twerks around so unpredictably that it would seem as though no vocals could ever be introduced without compromising the unique beauty of the track. This, however, proves to be distinctly untrue.

The Voice singer and regular Rudimental feature Becky Hill was the one charged with singing on the track, and the manner in which she takes power over the build up and drops without taking away from the backing is truly impressive. Right from her entrance, Hill‘s distinctive vocals travel well as the record jumps, while also seemingly guiding the song through its various ups and downs. A great choice of vocalist by Oliver Heldens, who alongside the wonderful Becky Hill achieves what many doubted would be a possible. 

Expect to hear this go into overdrive in clubs and on the radio over the next few months.
                                                                                                                                        Stuart Kenny

In amongst the smoke, streaming lights, vintage scrunchies and 90s Adidas gear, some pretty sensational music broke out in the Scottish capital when Marc Kinchen pitched up late last month.

It was around one o’clock in the morning before the man best known by his initials ‘MK’ took to the stage at the Liquid Rooms in Edinburgh. Murmurs of excitement spread throughout a crowd already buzzing after a fair few hours of house music, but while the night before this point had effectively been a regular nightclub effort juiced up with an extra bang of bass, the event became somewhat of a club-concert hybrid when the American took to the decks.

MK opened in slamming style. The producer spun a few beats of build up bass before unleashing the irresistible hook ‘I’m complicated you won’t get me out of trouble’ and launching right into his funked up remix of Wanklemut and Emma Louise’s My Head Is A Jungle. Cue screams, camera phones, a mass reverberation of the lyrics and some truly terrible dancing when the big drop kicked in; the DJ certainly knows how to work a crowd.

With the Amazonian humidity that seemed to be circling the Edinburgh venue and the amount of beanies being worn despite the rising temperatures, it was really no surprise that MK dropped My Head Is A Jungle early on – it could have been somewhat of an autobiographical tune for many of those in attendance on the night.

After opening on a high then, MK threw down his take on Rudimental’s Powerless next. This tune confirmed that the speakers in the venue were certainly tailored well enough for the event; a dirty bassline filling up the packed out arena.

The wonderful twang of Kinchen’s Lana Del Rey, Blue Jeans remix rang around the room to sickening reaction as well shortly after. This tune was built to be blasted on a big scale and while the vocals of Lana were held back by the DJ, there was not a single person stood still for the duration of the tune. A real highlight of the night for an audience being let loose to an endless run of innovative funk and house basslines.

The MK Love Right Here Dub of Angel Haze’s Battle Cry did similarly for the room, and in all honesty there was little let up in the hour plus set. The artist’s remix of HAIM’s If I Could Change Your Mind was another highlight alongside a remix of Chris Malinchak’s So Good To Me. Each tune flowed effortlessly and expertly into the next, and each was received with a new cheer of vigour from an audience loving every moment.

For many, the keystone moment will have come last however, as the artist signed out with an extended play of his number one remix of Storm Queen’s Look Right Through. A bouncing audience sang loud and lovingly before the lights came on and the night was over.

A sensational set from one of the leading producers in the world of house music. A messy night full of underground beats, basslines and tantalising drops. Edinburgh needs more of this.
                                                                                                                                        Stuart Kenny

Just For Culture bring you all the latest reviews from the world of music. Here's our breakdown of the latest singles out right now - check back in next week for our following reviews...

Afrojack ft. Wrabel – Ten Feet Tall   2/5

Former-EDM favourite Afrojack returns with a progressive build up that starts off with some promising vocals with Wrabel. A fairly energetic drop follows on to the end of the artist’s introduction that promises more than the producer has been delivering with his recent material, but while the enjoyable kick in will no doubt make a big impression during festival season, the vocals do become repetitive and drain interest from the track.

Foxes – Holding onto Heaven  3/5

A slow, intricate start highlights the real vocal impression that Foxes can make when she doesn’t hide behind a big beat. The Southampton singer bursts into action with a quick drum beat and a couple of fast paced violins to get the song really going, and along with a little bit of piano holding it together, this new release is a pretty nice track. Nothing innovative but a catchy tune that will grow on many.

Lana Del Rey – West Coast  3/5

Lana is back with a smooth, subdued effort that starts off by putting some fuzzy instrumental work ahead of the artist’s vocals before slowing it down to bring that famous voice to the forefront. The transition between these two sections shouldn’t really work but actually flows nicely, although the song does leave you longing for a little bit more of that classic Lana twang that sends tingles down the spine. Good. Could be better.

Ed Sheeran – SING 2/5

The start of Sheeran’s latest effort calls back some early, funky Justin Timberlake in an instrumental introduction. In fact, with the high pitched range taking over at the chorus, this song could well have been taken from a pile of unreleased material from the man in the suit and tie. To be honest, with fast-pace and continental guitar work in the background, it would have been better if sung by JT. Go back to being Ed, Ed. It’s what you’re good at.

DJ Fresh vs. TC – Make U Bounce   1/5

The producer behind Gold Dust and Louder returns with a poor effort. The build up here feels like a computer is breaking down and with the mute button not working, you’ve been left to listen to the resulting death. After the turn, it’s a little bit more enjoyable. Some funky work attempts to make up for the previous irritation but moves to quickly to do so, and before you know it, you’re left smashing on the mute button once again.

★ RECORD OF THE WEEK ★


Clean Bandit – Extraordinary feat. Sharna Bass  4/5

A calm, organic opening sees some piano work set a chilled mood which picks up pace when the impressive vocals of Sharna Bass arrive. Violin work contributes to natural vibes, and although additional clapping removes from the progressive piano, the following kick works well to take on a Mediterranean summer feel. Things are kept fresh after the first chorus with an extra touch of bass and a change in melody. Summer time success.

                                                                                                                                                                                                                                    Stuart Kenny

s“What I really like about playing live is that while it’s lovely to go and play headline shows and be loved from the off, it’s amazing to do support shows where you go on stage and people aren’t too sure of you, but by the end you have won them over. “To me that satisfaction is a real buzz.”

The words of ex-King Blues frontman iTCH an hour before taking to the stage in Edinburgh in support of Dan le Sac vs Scroobius Pip. And if the opinionated artist is able to talk the talk, he can certainly walk the walk too.

What started as a subdued showing where the sell-out audience seemed reluctant to get involved would end as a shaking spectacle that saw attendees hanging on the every word of the performer.

The main turning point? That would have to be when the hip-hop artist jumped down from the stage, created a circle in the middle of the crowd and completed a couple of setlist entries from ground level.

A surprised, and more importantly impressed, audience began from then on out to appreciate the charismatic, passionate performance that iTCH had been displaying throughout, and if he so much as shot a hand in the air subsequent to this crowd-winning gesture, a packed out venue in front of him would be quick to do the same.

On the setlist, Adam Lazzara feature and latest single Homeless Romantic was a highlight, tying the political nature of iTCH’s work to an irresistible beat that highlights the lyrics and therefore the depth that is at the heart of the artist’s work.

Children of Revolution did similarly to highlight the musician’s position at the forefront of political engagement in the UK music scene, while Best Shot, another effort from the artist’s upcoming album The Deep End, brought out some banging bass and a sing-along vibe.

There would be well received numbers from iTCH’s Manifesto EP also; True slowing things down to bring a criticism of the media culture, Like I’m Drugs speeding it back up with dubstep and EDM tones to keep the audience moving.

An excellent performance overall from the engaging artist, whose passion, honesty and concern for modern issues is refreshingly clear to see on stage.

First published at www.brignewspaper.com

Stuart Kenny

 

Sometimes you just need to kick back and let the bassline take control after a week of hard work in the library, or a long week of procrastination if you’re immersing yourself properly in the student lifestyle. Either way, what better time to do so than on a Friday night in the Scottish capital, and what better conductor for the task than Radio One queen Annie Mac.

The Annie Mac Presents tour flowed into Edinburgh late last month, bringing with it the abundance of expectation it now carries to provide an elegant explosion of electronic dance music attached from so many successful showdowns before.

The air of anticipation gave the old Edinburgh Picture House a buzzing feel that was quickly picked up by funky house producer Duke Dumont, who started the proceedings early and set a telling tone for the night with soulfully sweet melodies overseen by big bad basslines.

UK chart topper Need U (100%) established the credentials of the sound system were certainly in check, pounding out the irresistible blend of 90s house music and modern day trance to draw the crowd to the dance floor early and ensure the five hour session would be hard hitting the whole way through.

Co-writer of that aforementioned Duke Dumont hit MNEK was on stage to back up the producer with some fresh vocals, but it was the bouncy bassline of The Giver that most notably gave a turbo-boost to the dance floor motions, with party-goers flying onto shoulder tops and producing the camera phones to chant the anthemic lyrics of the summer sensation.

Closing on his soft, progressive remix of HAIM’s Falling, Duke left a solid set to allow Lulu James to take over, the London singer mixing it up with her original style of electronic soul; cool, crisp and consistently heavy with deep bass. Certainly no rest for the entertained then, other than the half-hour odd wait for a drink of course, and the securing of a long-lasting mortgage to afford said beverage.

Chill master Cyril Hahn was up next with his brand of expressive house, oozing a clean, laidback vibe with numbers Perfect Form and Raw Cut – the latter of which grabs for a particularly juicy bassline – yet with a more relaxed vibe to his music than his predecessors, there was a case to be had for perhaps swapping the set times of Dumont and Hahn to add a more natural progression to the night.

Regardless, the ambience and sound waves mechanically hit full throttle when the awesome Annie Mac arrived on decks, pumping out a variety of deep, deep house tunes and letting loose a higher quantity of bass than a stick of dynamite in the North Pacific Ocean.

The buzz created when the signature curls of the innovator were seen was a credit to the status of Mac in the modern industry, and the DJ did not disappoint, dropping the likes of Friend Within’s The Renegade alongside more diverse tracks including a Rudimental live lounge cover of White Noise – with the help of MNEK – to form a warm and wonderful complete house session that brought a truly pioneering style to the Scottish capital.

A massive success from the constantly impressive Mac all-in-all, and one filled with more than enough talent and diversity to make the five hour duration of the event fly by quick as you like.

Stuart Kenny

As published originally at: www.brignewspaper.com

From the early days of Bring Me The Horizon to their present day widespread success, this Sheffield five-piece have always been one to polarise popular opinion.

The release of their latest album Sempiternal was no exception to this rule. There were the fan critics who lamented the synthetic nature of the new work and the tamed progression of the album, and the enthusiastic majority who hailed the accessibility of the record and progression of lead vocalist Oli Syke’s now deafening roar.

This latter point was one that was emphatically on show as the English crew got their UK tour off to a start in Glasgow, and there was far from any sign that the grouping have given up on their metalcore roots in the live performance.

The sell out crowd was already wildly warmed up after a stylish showing from support act Pierce The Veil, and the Bring Me The Horizon crew made sure they didn’t let this atmosphere fall as they came out to big early rendition of Can You Feel My Heart, Shadow Moses and old favourite Chelsea Smile.

The former superbly combined irresistible synthetic work with anthemic drum beats and smooth vocals from Sykes before lead single Shadow Moses hypnotised the crowd into a sing-a-long build up climaxing in a bulking break down that, accompanied by heavy blasts of smoke from the stage, shook the Scottish venue to its very core. Sykes got a chance to really go all on this number, conveniently so before heavy pastime Chelsea Smile kicked in, a number received with delight by the men in the mosh pit.

The set up continued in similar vein from here on out. Sempiternal features And the Snakes Start to Sing and The House of Wolves demonstrated the range on offer in the band’s latest production; melodic guitar work impressing through certain parts while banging breakdowns and anthemic scream-a-long choruses took over in others.

The mix between past and present Bring Me continued through to the end however, to the delight of the audience. Cult 2008 track Diamonds Aren’t Forever let the crowd go almost as wild as the men who unleashed it on stage – Sykes first conducting a calm crowd who then burst into what had become a familiar moshing madness as soon as the lyrics kicked in. 2010 favourite Blessed With a Curse received a late airing also, tying in the gang vocals of the charismatic frontman with weighted, harmonious guitar riffs that highlighted the talent of Sykes on the chorus.

It was the second single to come from Sempiternal that would close the concert though. Sleepwalking was sounded and sent immediate shockwaves around the crowd. Sykes could have stayed silent throughout and each word would still have been heard clearly, but the lead put in a big final shift in front of the giant glowing initials ‘BMTH’.

Confetti fell from the roof to meet this frantic finale and put an end to a performance perfectly emphatic in everything it wanted to do. A concert not for the faint hearted, but one that provided every ounce of mayhem that the majority of Bring Me The Horizon fans would be pining to see.

Stuart Kenny

As published originally at: www.brignewspaper.com